Perov in g artist presentation for the lesson. Vasily Grigorievich Perov - painter, one of the founders of genre painting

Perov Vasily Grigorievich

Vasily Grigorievich Perov is a painter, one of the founders of genre painting.

Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. - Russian painter, one of the founding members of the Association of Traveling Art Exhibitions.

"The constant striving for the truth of life, full of painful doubts, difficult internal breakdown, sometimes severe disappointment did not leave Perov until recently. This is the secret of the charm that he had ..." (Botin B.N.)

Critical Realism in Russian Painting The emergence of a broad current of critical realism in Russian painting was prepared in the 1840s - 1850s by a part of Russian society that absorbed N.V. Gogol, poetry of N.A. Nekrasov, the aesthetic views of N.G. Chernyshevsky. The visual arts needed an impetus to depict the life of disadvantaged compatriots on canvases. Such an impetus was the work of Vasily Grigorievich Perov.

Critical realism is an artistic method and literary movement that developed in the 19th century. Its main feature is the image of the human character in organic connection with social circumstances, along with a deep social analysis of the inner world of a person.

Childhood Born on December 21, 1833 in Tobolsk. son of Baron G.K. Kridener. The surname "Perov" arose as a nickname given to the future artist by his literacy teacher, a junior deacon. He graduated from the course at the Arzamas district school, was sent to the art school of A. V. Stupin (also in Arzamas).

Vasily Perov.

Self-portrait. 1851.

Vasily Perov.

Self-portrait. 1870.

Study. Awards In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where he studied under MI Scotti, AN Mokritsky and SK Zaryanko. In 1856 he received a small silver medal for a sketch of a boy's head presented to the Imperial Academy of Arts. Subsequently, the Academy awarded him other awards:

a large silver medal for the painting "The arrival of the police officer for the investigation" (1858),
a small gold medal for the paintings "Scene at the grave" and "The son of a sexton, promoted to the first rank" (1860),
a large gold medal for the painting "Sermon in the Village" (1861).

Golden medal

In 1861, for the painting "Sermon in the Village" Perov received a large gold medal and the right to travel abroad at public expense, in 1862 he went to Europe, visited a number of cities in Germany, as well as Paris. This period includes paintings depicting European scenes of street life ("The Seller of Figurines", "Savoyard", "The Parisian Organ-grinder", "Beggars on the Boulevard", "Musicians and Onlookers", "Parisian Rags").

Sermon in the village. 1861.

Parisian rag-pickers

European scenes of street life This period includes paintings depicting European scenes of street life ("The Seller of Figurines", "Savoyard", "Organ Grinder", "Beggars on the Boulevard", "Musicians and Onlookers", "Rag People").

Parisian rag-pickers. 1864.

Organ grinder

Great paintings Returning ahead of schedule to Moscow, Perov from 1865 to 1871 created the paintings "Another at the fountain", "Monastic meal", "Seeing off the deceased", "Troika", "Clean Monday", "Arrival of the governess at the merchant house", " Drawing Teacher "," Scene by the Railway "," The Last Tavern at the Outpost "," Birds "," Fisherman "," Hunters at Rest ".

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Center for ART - Education All-Russian competition "Pride of the Fatherland": Anniversary dates of Russia in 2013 (history and culture) Presentation for a lesson in history. Presentation topic: "Vasily Grigorievich Perov - an outstanding genre painter of the 19th century (to the 180th anniversary of the artist's birth)." Vitvitskaya Lyubov Mikhailovna, history teacher Alexandra Arshinova, student of grade 9a MBOU secondary school № 4, Kolchugino, Vladimir region. website

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Perov - one of the best Russian painters of modern times, was born in Tobolsk on December 23, 1833. (The real surname is Kridener. The surname "Perov" arose as a nickname given to the future artist by his literacy teacher, a junior deacon). Perov Vasily Grigorievich (1833-1882) "Self-portrait", 1851

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Perov received his first painting lessons at the Arzamas school of A.V. Stupin - the best provincial art school of that time. While in it, in addition to copying the originals, for the first time he began to try his hand at composition and painting from life and painted the picture "The Crucifixion". At the end of the work, the sixteen-year-old artist donated it to the church of the neighboring village of Nikolskoye, as an altarpiece (located in the church of the village of Nikolskoye, Arzamas district). Monument to Stupin in Arzamas

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In 1853 he entered the Moscow School of Painting, Sculpture and Architecture. The famous sculptor Ramazanov, an inspector of the school, approved of Perov's drawings and accepted him as a student. He lived with a poor relative, an old maid, an orphanage overseer, sick with consumption. His father was old and did not send him money. After the death of a relative, he was literally left homeless, but one of the teachers at the school, E.Ya. Vasiliev, offered to move to his state-owned apartment, noticing good abilities in the young man. In 1856, for a sketch of a boy's head presented at the Imperial Academy of Arts, he received a small silver medal. This award was followed by others awarded to him by the academy: in 1858 - a large silver medal for the painting "The arrival of the police officer for the investigation", in 1860 - a small gold medal for the paintings "Scene on the grave" and "The son of a sexton who received the first rank", in 1861 - a large gold medal for "Sermon in the Village". “First rank. The son of a sexton, promoted to collegiate registrars ”, 1860 The excellent figure of a barefoot official, who is being tried on a uniform coat.

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In the painting Sermon in the Village, created in the year of the abolition of serfdom, Perov depicted a scene in a village church. The priest points up with one hand, and with the other - at the plump, unpleasant landowner dozing in an armchair; the young lady sitting next to her also does not listen to the sermon; she is carried away by the fact that some sleek gentleman is whispering in her ear. To the left are peasants in torn clothes. They, scratching their heads, sadly and distrustfully listen to the priest, apparently instilling that all power is from God. "I wanted to depict one of the sermons of John Chrysostom, and I tried to show the degree of its effect on different characters, on youth and old age, on poverty and wealth." , - this is how the artist explained the idea of \u200b\u200bthe canvas. Sermon in the Village, 1861

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Simultaneously with "Sermon" Perov painted two pictures - "Tea drinking in Mytishchi, near Moscow", where the obese monk is surprisingly typical, and "Rural procession at Easter". The last picture depicts everyone completely drunk. The country priest has grasped the porch column and can barely hold the cross in his other hand; the deacon, on the other hand, has completely collapsed on the threshold, flounders and cannot get up. "Tea drinking in Mytishchi, near Moscow", 1862 "Rural religious procession at Easter", 1861

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Having received, along with a large gold medal, the right to travel to foreign lands at public expense, Perov went there in 1862. He visited the main art centers in Germany and spent about two half years in Paris. Here he made sketches from life and painted several paintings depicting local types and scenes of street life (The Seller of Figurines, The Savoyard, The Organ-grinder, The Parisian Rag-Pickers, The Beggars on the Boulevard, The Musicians and Onlookers, and etc.), but soon became convinced that the reproduction of unfamiliar, foreign mores was not given to him as successfully as the depiction of his native, Russian life. The Academy allowed him to return to Russia a year before the end of the appointed term. "Savoyard", 1863-1864 "Organ-grinder", 1863 "Parisian Rag-Pickers", 1864

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After his arrival in Moscow, the artist creates more and more expressive and full of deep meaning human tragedies: "Seeing the Dead" (1865), "The Arrival of the Governess at the Merchant House" (1866). "Seeing the Dead", 1865 "Arrival of the Governess to the Merchant House", 1866

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Perov is drawn to the cold, gloomy scenes of city life. Famous for his painting "Troika" (1866), depicting little apprentices. Exhausted, the children pull an icy barrel of water. In the painting "The Drowned Woman" (1867) Perov depicted a policeman on duty at the body of a dead woman.

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In 1867, the painting "The Teacher of Drawing" appeared - a whole poem from real life in the power of the best Turgenev types. The painting "The Birds" was painted with even greater skill, which is one of the masterpieces of the Russian school. The painting begins a new period of Perov's activity and coincides with the beginning of the activities of the Association of Traveling Exhibitions.

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In Perov's paintings of the 60s, everything - both composition, color, and the always harsh landscape - was aimed at expressing his main thoughts, and - as Stasov said very well - everything in them "is strict, important and painful." But how often Perov was prevented from working; how often he indignantly dismissed absurd conversations, newspaper articles in which he was accused of not loving his fatherland, if he shows it in such a "disgusting" light that he has, "every picture, then a tendency and protest ”That“ isn't it better for an artist to work in the name of pure art? Clean Monday, 1866 Queue at the Pool, 1865

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One of the artist's highest achievements is "The Last Tavern at the Outpost" (1868). This is a picture of great emotional stress, unusually integral in its artistic solution. On the outskirts of the city, at the last tavern, two harnessed sledges stopped. The peasant woman who remained in the sleigh has long been waiting for her husband on a spree. The last street of the city runs away into the distance, to the outpost, behind which the village world begins. The landscape is imbued with a sense of longing and loneliness. Evening dusk, a general gray-brown tone, and only the windows of the inn covered by snow are illuminated from the inside with an alarming light, and the cold yellow streak of sunset burns out at the horizon behind the posts of the outpost, revealing the boundless distance.

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Perov devoted a lot of time and effort to social work. He was a member of the Moscow Society of Art Lovers and a member of the committee of this society. “... I find that I positively have no right to refuse such an honorary title. Therefore, I hasten to express my gratitude to you, as well as my readiness to serve for society and for its good goals ... ”- he wrote in response to his election. And, despite being busy, he was very conscientious about his duties, participated in all affairs of society. When, in 1869, the artist Grigory Grigorievich Myasoedov suggested organizing a partnership for organizing exhibitions by the artists themselves, Perov was the first to seize on this idea. But it was not so easy in those years to get permission to set up such a partnership. Tsarist officials, who constantly forbade the exhibiting of paintings by objectionable artists, did not approve of the new society, and the Academy of Arts did not like this idea either. "Portrait of the historian Mikhail Petrovich Pogodin", 1872

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Perov, Myasoedov, Kramskoy and other artists decided not to retreat. Endless troubles began. A year later, permission was obtained, and then the charter of the partnership was approved. It was necessary to prepare for the first exhibition, which was supposed to open in St. Petersburg. The year in which talks about a new partnership began was one of the most difficult in Perov's personal life: in one year his wife and two older children died, and one youngest son remained. It was difficult to come to terms with this, and only boundless love and dedication to art, the support of friends helped Perov overcome his grief, find the strength to work. Since 1871 TPHV has organized 48 traveling exhibitions in St. Petersburg and Moscow, then shown in Kiev, Kharkov, Kazan, Orel, Riga, Odessa and other cities.

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The traveling exhibition of 1871 exhibited two excellent paintings by Perov, The Fisherman and The Hunters at Rest. These pictures represent a direct continuation of wonderful genre plots. "Fisherman", 1871 "Hunters at Rest", 1871

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Perov's achievements as a portrait painter are significant. Portraying outstanding figures of Russian culture, the artist was able to reveal their complex inner world, high spirituality. The portrait of F.M. Dostoevsky (1872) is widely known, the portrait of A.N. Ostrovsky (1871), the portrait of V.I.Dal (1872) received deserved recognition. Portrait of Dostoevsky Portrait of Ostrovsky Portrait of Dahl

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Passion for the historical novels of Salias and Karnovich prompted Perov to write two large historical paintings - "Pugachev's trial" (1873, not finished) and "Nikita Pustosvyat. Dispute about faith. " The first he altered several times, and he himself remained dissatisfied with it. On the porch of a manor house sits Pugachev, surrounded by a crowd of his entourage, whose robber faces are extremely characteristic. An oath ceremony is in progress by a pitiful, unhappy, trembling priest. In the courtyard, in front of Pugachev, a crowd of people is crowded, in the forefront of which is a landlord's family, whose members, some with despair, some with firmness and courage, await the decision of their fate. In the background, the silhouette of the gallows looms against the ominous background of the fire. The leader of the uprising is opposed to a proud, domineering landowner, looking with anger at "Emelka". Perov set a very difficult task - to write a triptych, in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the reasons for the uprising, in the second - to depict the uprising itself, and in the third - to convey the reprisals against the landowners. The artist carefully prepared for the implementation of his creative plan: he read a lot about the Pugachev uprising, traveled to the Volga and the Urals, sketched types there ("Head of a Kirghiz", "Head of a Tatar"), made sketches for Pugachev. But out of the entire triptych he managed to paint only the third picture - "Pugachev's trial".

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"Pugachev's trial"

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During his life, Perov turned to literary creation. It is impossible not to mention his stories, as piercing and deep as his paintings. Perov reflected the stories of some of his paintings in a series of stories, in particular about Troika - in the story Auntie Marya, about The Drowned Woman - In Nature. Fanny at # 30. " In the last years of his life, leaving the Association, Perov practically gave up any exhibition activity - "Nikita Pustosvyat" became known to the general public after the artist's death. Some idea of \u200b\u200bPerov's state of mind at this time is given by such paintings as "The Wanderer in the Field (On the Way to Eternal Bliss)" and "The Return of the Peasants from the Burial in Winter". The artist ponders more and more about impending death, more and more painfully perceives creative failures. He teaches at the Moscow School of Painting, Sculpture and Architecture; among his pupils - M.V. Nesterov, A.P. Ryabushkin. S. A. Korovin, N. A. Kasatkin, A. E. Arkhipov. He supports and takes care of his friend, the great landscape painter A.K. Savrasov. The unfinished portrait of Savrasov by Perov can be considered evidence of this friendship.

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The most significant painting by Perov on a historical theme, and surpassing the others in size, is Nikita Pustosvyat. Before us is the Faceted Chamber. Nikita, enraged by the argument and a successful blow to the head of the Suzdal Metropolitan Athanasius, who fell backwards on the steps of the throne, attacks the Patriarch with clenched fists. His (one figure is worthy of the whole picture; in all Russian painting it is impossible to find another like her, where the character of this fanatic of schism is so amazingly correct. Around him is a crowd of schismatics who have come with him to defend a common cause. It consists of all possible types, various expressing their sympathy for Nikita's deed, rushing to rid him of the archers who were in. The picture is full of movement and drama.

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In 1881, Perov suffered from typhus and pneumonia, and his health deteriorated. The artist's friends tried to help him. Leo Tolstoy brought to him the famous doctor Zakharyin, P.M. Tretyakov, with whom Perov had been friends throughout his life, invited him to live at his dacha in Kurakino. In May, the seriously ill Perov was transferred to a hospital in Kuzminki near Moscow, where the artist's brother worked as an intern. On the eve of his death, Perov wrote his last letter to Tretyakov: “Dear and kind friend Pavel Mikhailovich, I kiss you ... and thank you from the bottom of my heart for everything that you have done and are doing for me ... Yours Perov. All hope is in God. " May 29 (old style) 1882, the artist died in the hospital. Portrait of Tretyakov. Ilya Repin. Portrait of V.G.Perov I.N. Kramskoy

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Perov was buried at the Danilovskoye cemetery in Moscow. In the 1930s, his remains were transferred to the cemetery of the Donskoy Monastery. Always modest, thinking little about himself, he did not value his works highly and, despite the modest demands that he made for life, he left nothing behind him except debts. A whole century separates us from the moment when Perov's life ended. Over these long years, many great masters have appeared, many once famous names have been forgotten. But the art of Vasily Grigorievich Perov, a great artist-narrator and "high moral personality", remains alive and relevant. Perov was the first talented follower of Fedotov, and on his works the next generation of genre painters was brought up with the talented Vladimir Makovsky at the head. One of the stories written by Perov says: "An artist who knows and loves his art leaves behind creations that pass into posterity and live there for a long time." These words rightfully apply to the work of Perov himself. Done, 1873 Self-portrait

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Literature and Internet resources. 1. Masterpieces of Russian painting. Encyclopedia of World Art. Publishing House "White City", 2006, pp. 162-174 2. Alexandrov V.N. History of Russian art. Minsk "Harvest" 2007, p. 441-444. 3. Roginskaya F.S. Fellowship of Traveling Art Exhibitions: Historical Essays. M., 1989. 4. Sarabyanov D.V. History of Russian Art of the Second Half of the 19th Century: A Course of Lectures. M., 1989. http://literatura5.narod.ru/dostoevskiy1.html http://www.bibliotekar.ru/Kartiny2/10.htm http://www.tanais.info/art/perov13more.html http: //upload.wikimedia.org/wikipedia/commons/4/48/Perov_V_G_DonM.jpg?uselang\u003dru http://tphv.ru/perov_obuhov18.php http://www.hydojnik.ru/Perov/ http: // commons.wikimedia.org/wiki/File:Perov_V_G_DonM.jpg?uselang\u003dru http://tphv.ru/perov_sher18.php

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Presentation Vasily Grigorievich Perov tells about the life and work of the artist. The work of a 10th grade student of the Moscow State Educational Institution "Secondary School", village Shanskiy Zavod. Can be used at an extracurricular event dedicated to the work of the Russian artist V.G. Perov.

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Slide captions:

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One of the largest artists of the second half of the 19th century, a Russian painter, one of the founders of genre painting.

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Born in Tobolsk, he was the illegitimate son of the local prosecutor, Baron G.K. Kridener. For a long time, official documents indicated the surname “Vasiliev”, given by the name of the godfather. The surname “Perov” was given to the future artist in the form of a nickname by his teacher of literacy, a supernumerary deacon.

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A. I. Kridener

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Arzamas

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Arzamas district school

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A. Mokritsky
S. Zaryanko

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Moscow School of Painting, Sculpture and Architecture

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"The arrival of the police officer for the investigation" (1858)

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"The son of a sexton, promoted to the first rank" (1860)
"Scene on the grave" (1860)

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"Sermon in the Village" (1861)

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"Tea drinking in Mytishchi" (1862)

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"Major's matchmaking" (Fedotov)

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Elena Edmondovna Sheis (Perova)

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"Savoyard"
"Organ grinder"

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"Parisian rag-pickers"
"Parisian organ grinder"

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"Regular Poolside" (1865)

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"Pugachev's trial"

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1. Vasily Grigorievich Perov is one of the greatest artists of the second half of the 19th century, a Russian painter, one of the founders of genre painting. Perov's work left a deep mark on the history of Russian art. The theme of people's suffering, the art of a realistic psychological portrait was developed by Perov's contemporaries and followers, members of the Association of Traveling Art Exhibitions, one of the founders and leaders of which was Perov.

2. Perov was born in Tobolsk on December 23, 1834. He was the illegitimate son of the local prosecutor, Baron G.K. Kridener. Despite the fact that soon after the birth of the boy, his parents got married, Vasily had no rights to his father's surname and title. For a long time, official documents indicated the surname “Vasiliev”, given by the godfather's name. The surname “Perov” was given to the future artist in the form of a nickname by his teacher of literacy, a regular deacon for his diligent calligraphy. ... When Perov was still a boy, Kridener, due to his independent character, was forced to leave government service. The family's financial situation deteriorated greatly, and my father had to take a poorly paid job as an estate manager. Perov's childhood took place in the vicinity of Arzamas.

1. After graduating from the course at the Arzamas district school, he was sent to the art school of A.V. Stupin in Arzamas. Here he received the rudiments of professional education from 1847 to 1849. The following years he worked independently, living with his father on the estate. In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where M. Scotti, A. Mokritsky and S. Zaryanka became his teachers. At first, his teacher was E. Vasiliev, who extended a helping hand to the young artist during the most difficult period for him. Vasily graduated from college under the guidance of S.K. Zaryanko. A positive feature of studying at the Moscow School was the opportunity, simultaneously with the studios, to paint “pictures on their own invented plots or selected from those proposed, but not given in any way. At the end of the fifties, Perov was already sufficiently technically prepared and could set himself creative tasks, striving for a truthful and clear transfer of the topic that excited him. When the time came to work with the aim of receiving academic medals, Perov painted one after another pictures, which, appearing at exhibitions, immediately create a name for him.

2. In 1856, he received a small silver medal for a sketch of a boy's head presented at the Imperial Academy of Arts. This award was followed by others awarded to him by the Academy: in 1858 - a large silver medal for the painting "The arrival of the police officer for the investigation."This picture became a notable event for the public and critics. In Perov they saw "Fedotov's direct heir and successor."
, in 1860 - a small gold medal for the paintings "Scene at the grave" and "The son of a sexton, promoted to the first rank."
In 1861 - a large gold medal for “Sermon in the Village”. These four works by Perov and the Scene at the Grave and Tea Party in Mytishchi, written shortly thereafter, were exhibited in Moscow and St. Petersburg, made a huge impression on the public and presented the artist as a witty satirist genre painter. No less of him endowed with subtle observation, deeply delving into Russian life, able to expose its dark sides especially vividly, but incomparably more skillful in drawing and technique than the author of The Major's Matchmaking.

1. In the fall of 1862 Perov married Elena Edmondovna Sheis. And already in December, together with his wife, having received a pension from the Academy of Arts for a trip abroad, he left for Paris. Perov visited the main art centers in Germany and spent about one and a half years in Paris. Here he made sketches from life and painted several paintings depicting local types and scenes of street life "Savoyar", "Organ Grinder", but soon became convinced that reproducing other people's mores was not given to him as successfully as depicting his native Russian life.

2 . . The main goal of the trip abroad, in his own words, turned out to be the improvement of the “technical side”, since, at first, taking on various plots, complex multi-figured compositions, he felt that “despite all his desire” he could not “fulfill a single picture that would be satisfactory. " This trip became a wonderful opportunity to get new impressions both from meetings with masters familiar from the Hermitage and from contemporary exhibitions, the material of which was no less interesting and instructive, allowing one to compare one's own level with the "Europeanly recognized" one. But he suffers complete failure. It is here that he remains primarily only a foreigner, capturing "various scenes", a diverse type of a foreign country. In 1864, Perov returned to Moscow, where he spent his entire future life. In 1869, his wife died, and after a while he buried his two older children. To top it off, in 1874 Perov learns that he is sick with consumption, which was then practically impossible to cure. In recent years, Perov turned to a historical theme: he conceived a triptych about Emelyan Pugachev, pondered plots from the Gospel and Russian folklore. Many of the artist's plans were not destined to come true. Vasily Grigorievich Perov died (May 29) June 10, 1882 in Kuzminki (near Moscow) from transient consumption. All of these paintings by Perov are kept in Moscow, in the Tretyakov Gallery.

PEROV VASILY GRIGORIEVICH The presentation was prepared by a student of 8 "B" grade Chuzhova Ulyana Teacher: Tarnovskaya Katerina Vyacheslavovna

WHAT INFLUENCED THE CREATIVITY OF PEN? The boy became interested in painting when he watched the work of an artist invited by his father. In 1843 - 1846, Vasily studied at the Arzamas district school, living with the teacher Favorsky. During this time, he continued his independent drawing studies. The mother wanted to send her son to the Nizhny Novgorod gymnasium, but the father got a new job - in the village of Piyashnoe (Piyavochnoe) - and Vasily was sent to study at the Arzamas art school of A.V. Stupin, where he studied (intermittently) in 1846-1849. He did not finish school, as some sources testify, because of a conflict with one of the students.

In 1852, Vasily Perov came to Moscow and the next year he entered the Moscow School of Painting, Sculpture and Architecture. However, there was nothing to live on and nowhere; the young artist even wanted to leave his studies because of need, but in difficult times he was helped by his school teacher, E. Ya. Vasiliev - "a strict ... even a little routine classic", who settled Perov at his place and took care of him as a father. In 1856, for the "Portrait of Nikolai Grigorievich Kridener, the artist's brother" presented to the Imperial Academy of Arts, Perov was awarded a small silver medal. Painted in 1857, the painting "The arrival of the police officer for the investigation" brought the artist a large silver medal. She attracted the attention of the public and critics; in Perov they saw “the direct heir and successor of Fedotov”. In 1860 the Academy awarded Perov a small gold medal for the painting “First rank. The son of a sexton, promoted to collegiate registrars ”, which approved the artist as the heir to the satirical genre of the 1840s.

Having received the right to participate in the competition for a large gold medal, Perov moved to St. Petersburg. Here in 1861 he painted the paintings "Sermon in the Village" and "Rural Procession of the Cross at Easter"; for the first, he received a large gold medal and the right to travel abroad as a pensioner. In the fall of 1862, Perov married Elena Edmondovna Sheins and in December, as a boarder of the Academy of Arts, went abroad with her: having visited a number of German cities (Berlin, Dresden, Dusseldorf), he came to Paris. In 1868, the Academy of Arts extended Perov's pensioner maintenance for two years in excess of the three years he had received earlier. The first prize at the MOLH competition was awarded to Perov for the painting "Scene by the Railroad". In 1869, together with Myasoedov, who came up with the idea of \u200b\u200bcreating the Association of Traveling Art Exhibitions (TPHV), Perov organized a Moscow group of Itinerants; for seven years he was a member of the board. In 1872 Perov married again - to Elizaveta Yegorovna Druganova. In 1877, Perov left the TPHV. In the last years of his life V. G. Perov collaborated in the journal "Nature and Hunting" L. P. Sabaneev. A number of his stories were published in the "Art Journal".

DEATH OF THE ARTIST At the end of 1881 typhus and pneumonia finally undermined his health. V.G. Perov died of consumption in a small hospital near Moscow on the territory of the Kuzminki estate (now the territory of Moscow). He was buried at the monastery cemetery in the Danilov Monastery. His ashes were reburied at the monastery cemetery in the Donskoy monastery; the exact date of the reburial has not been established.

WORKING STYLE Vasily Perov's paintings and his unusual work had a huge impact on the society of that time, prompting a new understanding and understanding of the world, where there is justice, kindness and understanding. Refusing the easy themes of painting, where the artist Perov could very likely have earned great fame, he leads a closed life, creating works with the language of colors on canvas, exposing injustice in Russian society, like Gogol ridiculing in his works the snickering rich stratum of society with its disgusting arrogance and sycophancy ... In the life of any society, sometimes there come moments when it is necessary to change something, the initiators of these changes are individuals who encourage society to enlighten and educate integrity. In Russian painting, Vasily Perov is one of the first artists who reveals the theme of the truth of that time, which was forbidden among his many colleagues, looking into all the hidden corners of the original way of life of an oppressed people.

RUSSIAN ARTISTS OF TRANSPORTATION Russian artists of the Wanderers sought to show in their works the ideological side of fine art, which was valued much higher than the aesthetic, setting itself the task of widespread propaganda of fine art, the purpose of which was the social and aesthetic enlightenment of the masses, bringing democratic art closer to life. To reveal in his paintings the true living life of the oppressed peasantry, suffering from the rule of the landowners and the rich, this was the main task. Many works of the Itinerant artists were painted from life in the style of genre painting, other works were written under the imagination of real life. Russian Itinerants with great convincingness demonstrated the existence of a new creative movement at the first exhibition that opened, gradually emerging since the 60s. This exhibition demonstrated the painting of the Itinerants - paintings by many famous artists in all popular genres: portrait, landscape and historical genre. A total of 47 exhibits were exhibited that turned the academic understanding of painting, this was the first stage of the success of the Wanderers who showed their paintings in a different dimension. By this time, some changes had taken place in the academy. since the old attitudes gradually receded into the past.

PICTURE "ARRIVAL OF THE GOVERNESS IN THE MERCHANT HOUSE" Arrival of the governess at the merchant's house, 1866. The theme of the picture corresponds to the critical and ridiculing style of the works of Vasily Perov, who was one of the first to focus on the powerlessness of ordinary people of his time, boldly reflecting the truth in his paintings. Similar immoral scenes, as in the painting The Arrival of the Governess at the Merchant House.

PICTURE "THE GOVERNESS'S ARRIVAL TO THE SHOPPING HOUSE" The artist often observed when people are bought and sold, like goods, or even lose at cards. The painting depicts a merchant family, smugly looking at the girl, the governess, who came to the service, respectively, against their will in a completely alien family, where there is no nobility and understanding and any kind of decency. The picture is very close to the spirit of the famous writer Gogol, the subjects of which he often described in his stories. Today the painting by Vasily Perov The arrival of the governess to the merchant house is located in Moscow in the Tretyakov Gallery, its size is 44 by 53 cm, it was painted on a wooden basis.

PAINTING "TROIKA" Written in 1866. At the moment she is in Moscow at the State Tretyakov Gallery.

PAINTING "TROIKA" Vasily Perov used gloomy, dim, dark, gray colors to convey the tragedy of the scene. The gloomy deserted street of the city adds to the atmosphere. In this picture, Vasily Perov addresses the topic of child labor. Three tired and frozen children are dragging a sled with a barrel full of water along a winter street. The overflowing water freezes like icicles on the surface of the barrel, which once again makes it clear how cold children should be. A grown man is pushing the cart from behind. An icy wind blows in the face of children. The carriage is accompanied by a dog running to the right in front of the children.

THE PAINTING "TEA IN MYTISHCHI" The painting Tea drinking in Mytishchi was painted by Perov in 1862, commissioned by the artist by the administration of the city of Mytishchi.

PICTURE "TEA IN MYTISHCHY" The plot of the Tea Party in Mytishchi was based on real events that Perov often observed in different suburbs of Moscow region important and self-righteous monks drinking tea, more than once the artist saw ragged cripples begging in the streets near the manor, which were usually chased away by the servants. The painting Tea drinking in Mytishchi Perov is an accusatory genre painting in which the artist tried to describe in detail the actual events of that time, as if making fun of the well-fed and snickering public of serf Russia. Trying to get away from academic painting, Perov reflected the painting Tea drinking in gray-brown shades, as if showing this dullness of everyday life with his pictorial means. Tea drinking in Mytishchi made a huge impression on the progressive public of that time at exhibitions in Moscow and St. Petersburg, contemporaries called Perov a satirist-genre painter who deeply understands Russian life.

THE PAINTING "HUNTERS AT THE BALANCE" Painting The Hunters on the Halt Perov painted in 1871. In this work, the artist depicted three hunters resting at a halt after a successful hunt. The artist Perov must admit and he himself was a passionate lover of hunting.

THE PICTURE "HUNTERS AT THE BALANCE" The plot of the painting The Hunters on the Halt turned out to be directly anecdotal, relative to other works of Perov. Contemporaries reacted differently to the work of the master, Saltykov. Shchedrin criticized the artist for the unnatural looking faces of the hunters, as if the actors were playing and not living hunters. And Stasov V.V., on the contrary, enthusiastically admired the picture, comparing it with the stories of the writer Turgenev. As a result, there are three hunters with prey in the picture, not two or four, but three, in general, the holy trinity against the background of the evening, somewhat dull landscape, birds still fly in the cloudy sky, a slight breeze is felt, clouds are gathering.

PORTRAIT OF DOSTOEVSKY Perov portrait of Dostoevsky Fyodor Mikhailovich. Moving away from dramatic works, Perov often painted portraits, perhaps the most notable of them, in which the artist Perov reflected the true expression of the character of the famous writer Fyodor Mikhailovich Dostoevsky. The portrait is painted on a dark background, the writer poses for the master looking thoughtfully to the side, holding his clasped hands on his knees. The portrait of Dostoevsky was painted without much effort in a variety of colors, the artist uses similar shades in many of his other works. In this case, the entire emphasis was placed on the psychologism of the portrait of the writer, his spirituality and deep concentration, which, in fact, Perov managed to notice well.

REFERENCES http: // www. art-portrets. ru / portret_perova. html https: // ru. wikipedia. org / wiki /% D 0% 9 F% D 0% B 5% D 1% 80% D 0% BE% D 0% B 2, _% D 0% 92% D 0% B 0% D 1% 81 % D 0% B 8% D 0% BB% D 0% B 8% D 0% B 9_% D 0% 93% D 1% 80% D 0% B 8% D 0% B 3% D 0% BE % D 1% 80% D 1% 8 C% D 0% B 5% D 0% B 2% D 0% B 8% D 1% 87 http: // www. artsait. ru / art / p / perov / main. htm

Perov Vasily Grigorievich

The presentation was prepared

primary school teacher

MBOU Secondary School No. 12

urban district of Vyksa

Nizhny Novgorod region

Shcherbatova Svetlana Nikolaevna

Perov Vasily Grigorievich (1833-1881)

Russian artist Vasily Grigorievich Perov was born in Tobolsk December 23, 1833.

Basil's father, Grigory Karlovich Kridener was a prosecutor, spoke several foreign languages, was fond of art. Since at the time of the birth of the child, the parents were not officially married, and the boy did not have the right to bear the surname of his father, it was given by the godfather - Vasiliev.
Little Vasily was taught by his mother to read and write very early. The boy continued his studies with a local sexton, who for his success in calligraphy gave him the nickname Perov ... Subsequently, this nickname was adopted by the artist as a surname.

Perov became interested in painting at the age of nine. When the family lived under Arzamas , a local artist was once invited to the house to touch up an old portrait of his father. The boy was so captured by the process of the artist's work that he was carried away by drawing. Vasily's parents encouraged his passion.

After studying for three years at the Arzamas district school, in 1846 year Perov entered the well-known art school A.V. Stupin. However, Perov never graduated from the art school: having quarreled with his comrades, he left for the village to his parents and did not appear at school again. Nevertheless, the young man did not give up painting.

Living in the village, a young artist paints a picture "Crucifixion" which he presented to the nearest village.

IN 1851 year Perov paints a self-portrait, portraits of his parents.

IN 1853 year the artist went to Moscow, where he entered the Moscow School of Painting, Sculpture and Architecture. Among his teachers at the School were E.Ya. Vasiliev, A.N. Mokritsky and S.K. Zaryanko.

After a while, due to the difficult financial situation, Perov almost dropped out of school. In a difficult moment helped him Egor Yakovlevich Vasiliev ... Friendship with fellow practitioners, the famous Russian landscape painter, also helped the young artist not to lose heart I.I. Shishkin and the outstanding genre painter I.M. Pryanishnikov , with whom he had to take turns wearing the same fur coat. Despite all the difficulties, Perov continued to study hard.

IN december 1856 Vasily Grigorievich was awarded the Second Silver Medal for the work "The Head of a Boy". IN 1857 year artist paints pictures "Grandmother and granddaughter" and "The arrival of the police officer for the investigation." The latter work was awarded the Great Silver Medal by the Academy Council. Perov's next work "First rank", written in 1860 year , was awarded the Minor Gold Medal.

IN early 1863 Vasily Grigorievich goes on a business trip abroad. Perov first visits Germany and then France. For a year and a half spent in Paris, the artist writes small sketches, the most characteristic of which is The Blind Musician (1864). Of the most famous works of this period, we note the picture "Savoyard" (1863-64), graphic sheet Funeral in a Poor Quarter of Paris (1863), a number of sketches and sketches: "Parisian Rag People", "Organ Grinder on the Boulevard in Paris", "Feast in the Environs of Paris", "Street Scene in Paris", "Song Seller", "Organ Grinder", "Italian Selling Figurines".
IN 1864 year Perov returns to Moscow ahead of schedule from a business trip abroad.

1870s - the heyday of Perov's creativity. Among the best works of this period are paintings "Seeing the Dead" (1865), "The Drowned Woman" (1867), "The Last Tavern at the Outpost" (1868), "Troika" ("The Apprentices-Workers Carrying Water", 1866), "The Arrival of the Governess at the Merchant House" (1866) ...

A feature of Vasily Grigorievich's work is that he wrote stories about the life of the heroes of his paintings. The paintings were successfully exhibited at the World Art Exhibition in Paris.

IN 1866 year Perov receives the title of academician. IN 1870 year artist paints a picture "Birdman", for which he is awarded the title of professor.
IN 1870 year the artist suffered a great personal grief: his family was dying from the epidemic.

IN 1870s Vasily Grigorievich turns to the portrait genre.

The artist paints portraits of representatives of the Russian intelligentsia: philologist V.I. Dahl, doctor and writer V.V. Bessonov, poet A.N. Maikov, writer A.N. Ostrovsky, historian and writer M.N. Pogodin, writer I.S. Turgenev.

Portrait of the Russian writer F.M. Dostoevsky Kramskoy called one of the best portraits of the Russian school of painting.

Portrait of A. N. Maikov.

Portrait of I. M. Pryanishnikov.

FROM 1871 year Perov teaches at the Moscow School of Painting, Sculpture and Architecture.

Among his students were future famous artists M. V. Nesterov, A. P. Ryabushkin, I. I. Levitan, brothers Korovin.

V.G. Perov's paintings

Girl

At the end of 1881, typhus and pneumonia finally undermined his health.

Died V.G. Perov from consumption in a small hospital near Moscow on the territory of the estate Kuzminki (now the territory of Moscow).
He was buried at the monastery cemetery in the Danilov Monastery.